
Book __ ."Djs.... 



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COPYRIGHT DEPOSrr. 



The Study of Romola 



BY 

H. A. DAVIDSON 



Topics and References 

Arranged for 

Teachers, Classes, Study Clubs, and 
Students of Literary Art 



THE LIBRARY OF 
rjoNHRES*; 
w-, CoRfctJ fttiCBlVED 

OCT. SV; 190^ 
// / 3-^2-- I 

COP Y B. J 






Third Edition 



Copyright 1897, 1899, 1902, by 

MRS. H. A. DAVIDSON, A.M. 

..INoi liSprague Place, 
•**. ":/L'3;J)any, N. Y. 



Author of "The Study of Ivanhoe," "The Study of Henry Esmond, 

"The Study of Silas Marner," in Houghton, Mifflin & Company's 

Riverside edition, "The Creative Art of Fiction," 

" The Study of Idylls of the King," etc. 



Puritan Press 
Boston, Massachusetts 



Topics and References for the Study of 
Romola. 

REFERENCES. "* 

Books which should be owned. 

A copy of Romola, not too valuable to mark. 

George Eliot, by Leslie Stephen. 

Life and Letters of George Eliot, edited by J. W. Cross. 

Life and Times of Savonarola, by P. Villari. 

The Age of the Despots, by J. A. Symonds. 

A map of Florence, or a guide-book. 

Two note-books. 

Note. — The Life of Savonarola may be obtained in one vol- 
ume, and there is an inexpensive edition of the Life edited by 
Cross. 

Books which should be found in libraries. 

George Eliot's Life and Writings. 

Life and Letters of George Eliot, edited by J. W. Cross. 
(Blackwood's cabinet edition is most satisfactory.) 
George Eliot, by Leslie Stephen. 

George Eliot, by Oscar Browning, Great Writer Series. 
George Eliot, by Mathilde Blind, Famous Women Series. 
The Cheverels of Cheverel Manor. (The scene of Mr. Gilfil's 

love story.) Longmans, Green & Co. 
Scenes from the George Eliot Country, by S. Parkinson. 
Country of George Eliot, Century Magazine, July, 1885. 
Lives of Girls who Became Famous, by S. K. Bolton. 
Home Life of Great Authors, by H. T. Griswold. 
George Eliot, a Critical Study of her Life, Writings, and 

Philosophy, by G. W. Cook. 



George Eliot and her Heroines, by A. G. Woolson. 

A complete set of George BHot's works. 

The Essays of George Eliot. 

Note.— The "Personal Edition," edited by Mrs. Henry 
Wood, contains introductions. 

English Authors in Florence, by Kate Field, Atlantic 
Monthly, December, 1864. 

George Eliot, by F. W. H. Myers, Century Magazine, Novem- 
ber, 1881, p. 57. 

Portrait of George Eliot, Century Magazine, November, 1881, 
frontispiece, and p. 57 ; and Critic, vol. xxvii., pp. 46, 64. 

George Eliot's Life, by Henry James, Jr., Partial Portraits, 
QM^ Atlantic Bfonthly, May, 1885. 

The Ivife of George Eliot, by Frederic Harrison, Fortnightly 
Review, March, 1885. 

George Eliot's study, in preparation for writing. 

George Eliot, by Oscar Browning. 

Life and Letters, by Cross, vol. ii., 261, 262, 267, 269, 271, 
274, 275, 278, 281, 282, 285, 286, 289, 291, 294. 

For the historical account of Savonarola's visit to Lorenzo, 
and of Lorenzo's death, mentioned in chapter i., see " Life and 
Times of Savonarola," by Villari, vol. i., pp. 145-149 (chap, ix.), 
and also "A History of the Commonwealth of Florence," by 
Trollope, vol. iii., book viii., chap, iv., pp. 460-464..., 

Time of Connposltion. 

George Eliot, by Oscar Browning. 

Life and Letters, by Cross, vol. ii., 265, 268, 269, 270, 278, 281, 
282, 284, 286, 288, 290, 291, 294, 300, 301. 

Visits to Florence. 

George Eliot, by Oscar Browning. 

Life and Letters, by Cross, vol. ii., 168-195, 229, 253-259. 

George Eliot, by Leslie Stephen. 



The Art of Fiction. 

The English Novel and the Principle of its Development, by- 
Sidney Lanier. 
The English Novel, by Walter Raleigh. 
The Development of the English Novel, by W. h- Cross. 
Some Principles of I^iterary Criticism, by C. T. Winchester. 
The Novel — What is it? by F. Marion Crawford. 
The Technique of the Drama, by W. T. Price. 
Principles of Success in Literature, by G. H. Lewes, edited 

by F. N. Scott, published by Allyn and Bacon. 
Relation of Literature to Life, by C. D. Warner. 
Some Aspects of Fiction, by Brander Matthews. 
Criticism and Fiction, by W. D. Howells. 
The Creative Art of Fiction, by H. A. Davidson, a series of 

essays for teachers, in Primary Education, February — June, 

1902. 
The study of Silas Marner, by H. A. Davidson, an essay, in 

the Riverside edition of Silas Marner. 
The study of The Vicar of Wakefield, by H. A. Davidson, an 

essay in the Riverside edition of The Vicar of Wakefield. 
The Historical Romance (Dumas), by G. H. Lewes, British 

Quarterly, 1848. 
A Gossip on Romance, an essay, by R. L- Stevenson. 
The Historical Novel, and other Essays, by Brander Matthews. 
The Historical Novel, by Paul Leicester Ford. 
The History of the Novel previous to the seventeenth century, 

by F. M. Warren. 
The Evolution of the English Novel, by F. H. Stoddard. 
A study of Prose Fiction, by Bliss Perry. The Riverside 

Press. 
The History of Florence and of Savonarola's life. 

The Life and Times of Savonarola, by P. Villari. 

History of the Commonwealth of Florence, by Trollope, vols. 

iii. and iv. 



The Makers of Florence, by Mrs. Oliphant. 

Commerce and Industry of Florence during the Renaissance, 

by W. G. Scaife. Published in Report of American His- 
torical Association, 1891. 
Lorenzo de Medici and Florence in the XV. Century, by E. 

Armstrong, Heroes of the Nations series. 
History of the Popes, by L. Von Ranke. 
History of the Middle Ages, by Henry Hallam, vol. ii., chap. 

iii. 
Age of the Despots, by J. A. Symonds. 
The Renaissance in Italy, by J. Burkhardt. 
The Romanes Lecture, 1897, Machiavelli, by John Morley. 
The Florentine Painters of the Renaissance, by B. Berenson. 
Mornings in Florence, by John Ruskin. 
Cosmo di Medici, Foreign Statesmen series, by Miss K. D. 

Ewart. 
Handbook of Florence and Environs, by F. and J. Pineider. 
The Monastery of San Marco, by G. S. Godkin. 
For an account of the " Villari Testimonial," see The Nation, 

Dec. 7, 1890. 
The History of "Florence, by P. Villari, vol. i., in English, 

illustrated ; uniform with the Life of Savonarola. 
Florentine Wool Trades in the Middle Ages, by Miss Dixon, 

issued by the Royal Historical Society. 
Savonarola, by G. M. Hardy, The World's Epoch Makers. 
Girolamo Savonarola, by E. L- S. Horsburg, Methuen & 

Company, London. 
Literary Criticism of the Renaissance, by J. E. Spingarn. 
Romances of Roguery, Part I., The Picaresque Novel in 

Spain, Columbia University. 

Criticism. 

References for the study of criticism of the historical novel, 
Romola, and of George Eliot's literary art, will be found at the 



conclusion of the "Topics for Study." Students are most 
earnestly requested not to read criticisms of the novel, Romola^ 
or of the author's characteristics as a writer of fiction, until the 
close of the study of the novel. Critical discussions will then 
serve their true purpose, that of suggesting to one student the 
conclusions of another with which he may compare his own. The 
reading of criticisms upon literature with which the reader is 
not familiar is much like reading a guide-book in place of visit- 
ing a foreign land. Emerson says, " A man should learn to de- 
tect and watch that gleam of light which flashes across his mind 
from within." 

George Eliot's Definition of the Historical Novel. 

" Admitting that the genius that has familiarized itself with 
all the relics of an ancient period can sometimes by the force of 
its sympathetic divination restore the missing notes in the ' mu- 
sic of humanity ' and reconstruct fragments into a whole which 
will really bring the remote past nearer to us and interpret it to 
our apprehension — this form of imaginative power must always 
be among the very rarest, because it demands as much accurate 
and minute knowledge as creative vigor. ..." 

" I want something different from the abstract treatment 
which belongs to grave history from the doctrinal point of view 
and something different from the schemed picturesqueness of 
ordinary historical fiction ; I want belief, severely conscientious 
reproductions in their concrete movements of the past." — George 
ElioVs Essays. 

Note. — For Thackeray's conception of historical fiction, see 
" Essay on Steele." — English Humorists. 

George Eliot's Interpretation of her purpose In the novel Romola. 

**I took unspeakable pains in preparing to write Romola — 
neglecting nothing I could find that would help me to what I may 
call the 'idiom' of Florence, in the largest sense one could stretch 



8 

the word to ; and then I was only trying to give some out of the 
normal relations. I felt that the necessary idealization could 
only be attained by adopting the clothing of the past. . . . 
Consider the sort of agonizing labor to an English-fed imagina- 
tion to make out a sufficiently real background for the desired 
picture, — to get breathing, individual forms, and group them in 
the needful relations, so that the presentation will lay hold on 
the emotions as human experience, — will, as you say, flash con- 
viction on the world by means of aroused sympathy. 

. . . "And I am not surprised at your dissatisfaction with Romola 
herself. I can well believe that the many difficulties belonging 
to the treatment of such a character have not been overcome, 
and that I have failed to bring out my conception with adequate 
fullness. I am sorry that she has attracted you so little ; for the 
great problem of her life, which essentially coincides with a 
chief problem in Savonarola's, is one that readers need helping 
to understand. But with regard to that and to my whole book, 
my predominant feeling is, — not that I have achieved anything, 
but — that great, great facts have struggled to find a voice 
through me, and have'only been able to speak brokenly. 

"There is no book of mine about which I more thoroughly 
feel that I could swear by every sentence as having been written 
with my best blood, such as it is, and with the most ardent care 
for veracity of which my nature is capable." — Life of George 
Eliot, edited byf. W. Cross, vol. ii., j/j, 308, sag; vol. Hi., 26g. 

Test in Reading. 

The following quotations furnish a test to be applied in read- 
ing Romola : 

"Although as a matter of fine art no character should have 
a place in a novel unless it forms an integral element of the 
story, and no episode should be introduced unless it reflects 
some strong light on the character or incidents, this is a critical 
demand which only fine artists think of satisfying, and only 



delicate tastes appreciate." — Principles of Success in Literature, 
by G. H. Lewes. 

"Perhaps even a judge so discerning as yourself could not 
infer from the imperfect result how strict a self-control and 
selection were exercised in the presentation of details. I believe 
there is scarcely a phrase, an incident, an illustration that did 
not gather its value to me from its subservience to my main 
artistic objects. But it is likely enough that my mental con- 
stitution would always render the issue of my labor something 
excessive — wanting due proportion. It is the habit of my imagi- 
nation to strive after as full a vision of the medium in which a 
character moves as of the character itself." — Letter of George 
Eliot to R. H. Hutton, about '^ RomolaJ" Life and Letters of 
George Eliot, vol. ii.,p.^og. 

NOTE-BOOK TOPICS. 
Preliminary : 

I. Time occupied in the composition of Romola. 
II. Number of visits made to Florence ; time spent in the 
city. 

III. George Eliot's study in preparation for the writing. 

a. Subjects studied. 

b. Books read. 

For work throughout the course : 

IV. Chronology of the story of Romola. 
V. List of characters acting in the novel. 

Enter the name at its first appearance, in the note- 
book, with reference to the page where it was found. 
VI. Forecasts : 

These are hints about the future course of the story 
given in the earlier parts of the narrative. 
VII. Means employed to give historical coloring ; as cos- 
tumes, proverbs, etc. 



VIII. Antecedent material : 

Some writers construct a story antecedent to the one 
they tell, which they impart to the reader by various 
devices without making it an integral part of the nar- 
rative. 

The beginning of the plot is always to be found in 
some incident, condition, or significant connection of 
persons, facts, or events, which is, in the causative sense, 
the starting point of the dramatic action, and which 
must be followed to a conclusion before the story as a 
work of art may be ended. Antecedent material is intro- 
duced through the need of accounting in a reasonable 
manner for conditions, relationships, etc., essential to 
the progress of the plot. 

IX. Plot outlines : 

Those events or facts belong in a plot outline which 
determine subsequent events. They give, in outline, the 
effective presentation of the theme and lead inevitably 
to the climax and conclusion. It is necessary, always to 
distinguish carefully between such events 6x facts as 
have determining force, and those incidents which are 
illustrative, or contribute to character building. 

X. Quotations : 

Select only such quotations as are complete when 
severed from the context, and of great value for beauty 
of sentiment, accuracy of analysis, or clear statement of 
profound truth. Seek to find a few choice passages,, 
rather than to make many quotations. 

XI. References to any passages which seem to you 
unnecessary : 

Make reference to any paragraph which, in your 



opinion, could be omitted without loss. It is sometimes 
said that George Eliot overloaded her novels with the 
learning gained in her exhaustive study. 

XII. Characteristics of George Eliot, the author. 

Put here notes of any peculiarity which seems to you 
to belong to George Eliot's work or habit of mind, with 
references to the illustrations that you have found. Do 
not look for such characteristics on the first page, or in 
the first chapter. They are there, but you should become 
familiar with an author before you venture to pronounce 
the peculiarity you notice a characteristic. If it be such, 
other illustrations of it will appear as you go on. 

XIII. A character for special study : 

As soon as you have made your selection, mark every 

item of the analysis, description, and development of the 

character chosen, in your copy of Romola. 

Note. — Probably no student will care to undertake all the 

note-book topics. Each should keep, in the note-book, or in 

the text, the chronology of the novel, a list of the characters, 

and an outline showing the plot elements, by chapters. Those 

who have the time for note-book work should also select one 

or more characters for study, and one or two topics, and give to 

them some special attention throughout the study of the novel. 

Each topic is intended, if faithfully used, to furnish the material 

for some intelligent and critical opinion about the novel. 

DIRECTIONS FOR NOTE-BOOK WORK. 

Students and readers should have two note-books : one for 
the orderly arrangement of whatever results of study may be 
worth preserving; the other should serve as a kind of tabula 
erasa, for the making of notes while reading, or listening to 
lectures. 



Note-book work is of three kinds. First, there is the collec- 
tion of data about the author and the particular work studied ; 
this should be done in the beginning. Secondly, there is the 
collection of data upon special topics suitable for investigation ; 
such data will serve, later, as a basis of critical inquiry : for in- 
stance, if the date of the opening scene of the novel is entered 
in the note-book under the heading, *' Chronology of the story," 
and each succeeding period of time is noted as the reader finds 
mention of it, he will know, in the end, the length of time 
covered by the dramatic action, how many intervals occur, etc. 
The collection of such data is, of necessity, preliminary to any 
critical comparison of different novelists in regard to the time 
covered by their plots. It will be seen that the items to be 
entered under note-book topics iv. to xiii., inclusive, will be 
found singly and at intervals throughout the novel. It is con- 
venient to write each topic at the top of a page, with a ruled 
column at the left for references to the pages of the text where 
items are found. The reader should keep this note-book always 
at hand, and enter in the fewest possible words, any item coming 
under one of his topics. When a page is filled, he should refer 
at the bottom to the nearest page in the book which happens 
to be blank, and at the top of that repeat the topic title, with 
a reference to the former page. In this manner, it is easy to use 
one note-book for many topics, without confusion. Thirdly, 
there is note-book work upon the topics of study. Many readers 
whose mental discipline is not such that they habitually organ- 
ize the results of study, will find the use of the pen a great aid 
to definiteness of thought. After careful study, it is often profit- 
able to summarize analytically the conclusions reached. 

The outline of plot elements, or the points noted in answer 
to questions, should be in convenient form for use in discussion. 

The following outline of plot elements called for in Topics 
for Study, section i., No. lo, will serve as an illustration : 



13 
Plot elements: 

In chapter i. : The ring, the hints of mystery. 
In chapter ii. : Tito meets Tessa, Nello. 
In chapter iii. : Further hint of mystery. 

Nello proposes to introduce Tito to Scala^ 
by means of Bardo. 
In chapter iv. : Tito meets Cosimo. 

The introduction of antecedent parts of the 
narrative. 
In chapter v. : The introduction of persons and facts of 
importance in the action. 
Romola, Dino, Bardo's blindness. 
In chapter vi. : Tito meets Romola. 
Tito will aid Bardo. 
Tito meets Bernardo del Nero. 
The note to Scala. 

Nero suggests the marriage to Bardo. 
In note-book work, it is a mistake to write full sentences or 
paragraphs. The note-book should contain, in outline, such 
facts, points or references as will enable the student to recall, 
instantly, his proof, his argument, or his analyses and con- 
clusions, but this does not apply to definitions or critical esti- 
mates, which cannot be worded with too great care. 

All notes should be accompanied by full and exact references. 
The note-book is not the place for general statements, or the 
expression of opinion, and that form of outline which consists 
in multiplying subdivisions by title, without inclusion of the 
results of study, should be avoided. For instance, nothing is 
gained under the topic, George Eliot's Education^ by placing in 
the note-book an outline, subdivided : 
George Eliot's Education : 

a. Schools attended. 

b. Subjects studied. 

c. Special discipline gained. 



14 

If ever the student has real need of the information gained 
and organized on this subject, he will wish to find a list of the 
schools attended, so arranged as to show, at a glance, name of 
school, time spent in it, age of scholar, subjects, and special dis- 
cipline, and with this data, references, by volume and page, to 
the book giving the full account. 

The copying in note-books of quotations, or of critical opin- 
ion, separated from the context in which it is found, is unwise. 
It is a general principle that the student's ability to express in 
his own language an idea gained and noted by topic, analysis, 
and data, is a fair test of his fitness to pursue the subject of 
study. A thought which can be remembered only in the lan- 
guage of the writer from whom it is borrowed, is still unassimi- 
lated, and often but half understood. On the other hand, the 
attempt to phrase the idea as it remains in the mind, without 
recurrence to the form of expression from which it was gained, is 
often an essential condition of intellectual growth. This applies 
especially to definitions and critical estimates ; the ordinary 
vocabulary lends itself easily and naturally only to the expres- 
sion of experience, or of phases of thought long familiar. 
Whatever has been recently acquired, and corresponds to the 
best maturity and development of the mind, is difficult of ex- 
pression, and if the mind is not to lose the infinitely pre- 
cious treasure of new thought, unwearying patience must be 
shown in the effort to clothe the idea, in accurate and fitting 
language. 

The Pronunciation of " Romola." 

"You have been rightly inspired in pronouncing Romola, and 
in conceiving Romolo as the Italian equivalent of Romulus. I 
can assure you that the Italians say Romolo, and consequently 
Romola. The music of the name is quite lost in the painful 
quantity Rom51a." — Life of George Eliot, letter to A. Main, 
Aug. 3, 187 1. 



15 

THE USE OF THE TEXT. 

It is desirable to use a copy of the text not too valuable for 
marking. It is often convenient to note a series of facts by mar- 
ginal references, or words, such as "Theme," **Plot," etc., and 
it facilitates later study of the characters to write the initial 
letter of the name of each leading character in the margin when- 
ever any description, analysis, or other indication of personality, 
occurs. It will then be possible to trace a given character 
through the narrative, without re-reading. 

PRONUNCIATION OF ITALIAN NAMES. 

A few brief rules for the sounds of letters in Italian words are 
here given. Explanations and exceptions will be found in gram- 
mars. Nothing more than the furnishing of a little practical aid 
in the pronunciation of names for those who do not read Italian 
is here attempted. 

c = k ) 

' before a, o, u, or a consonant. 



g = g, m go, 

c = ch, in chin, \ x^^r^^^ ^ ^^ • 
__ • ' ' > before e or i. 

ci 1 before a, o, u, have the sounds of c, g, before e or i, but 

gi J the i is silent. Cia is pronounced cha. 

ch ) 
, V before e or i, have the sounds of c, g, before a, o, u. 

^~ „\ but are enunciated more strongly. 

gl = 11, in William, when followed by i before another vowel. 

gn = ny, the sound of n in canon. 

s =: z, between two vowels. 

j = y, at the beginning of a word. 

j = ee, at the end of a word . 



i6 

Topics for Study. 

BOOK I. SECTION I. CHAPTERS I.-VI. 
The Proem. 

1. a. What device did George Eliot use for transporting 

the reader to the fifteenth century ? 

b. How did she create an impression of the essential 
identity of human life and interest in that century and 
in the present time ? 

c. If the spirit in the proem is that of a representative 
man of the fifteenth century, what were his character- 
istics ? 

2. Of what special lines of study in preparation for writing 
Romola do you find evidence in the proem ? 

Chapters l.-vi. 

3. Why was the 9th of April chosen as the date of the first 
scene in Romola ? 

4. a. How many characters are introduced in chapters i.-vi ? 

b. Which are likely to be important characters in the 
novel ? Why do you think so ? 

c. Is each one of the characters introduced distinctly 
characterized ? 

Compare with the method of real life : 

5. a. How do we judge a stranger on first meeting him ? 

b. How are later estimates of character formed? 

c. Show, analytically, the steps by which mature persons 
arrive at intimate knowledge of a new acquaintance. 

6. Make a brief analysis of each principal character as repre- 
sented in these chapters, including : 

a. Description of personal appearance. 

b. Impression given of disposition, traits of character, etc. 



17 

c. Indications of important relationships between differ- 
ent characters. 

7. Is Bardo introduced for his own sake, or on account of 
his relation to other characters ? What indications do you 
find in proof ? 

8. From how many points of view, by means of persons, is 
Tito presented to the reader ? How do these points of view 
differ? Is any one of them that which the author desired 
the reader to gain ? 

If not, what is the view she wished to present to the 
reader? How does she present this view? 

9. Are there any elements in Tito's character, at the time 
when he is introduced to the reader, which make it prob- 
able that his life will be treacherous or dishonorable ? 
Are there any elements of his character which make a 
dishonorable or wicked life improbable? 

10. What is accomplished by the introduction of Bardo and 
Romola ? 

a. Characteristics given Romola. 

b. Characteristics prepared for ; i. e., what development 
of traits may be expected in Romola ? 

c. Historical perspective ; — how is it secured ? Is it 
defective ? 

d. What mental characteristics belonged to a scholar of 
the fifteenth century, as represented by Bardo di Bardi ? 

11. What characteristics of the times, as different from our 
own, have been emphasized in chapters i.-iv? 

12. Chapters i.-vi. introduce the main characters. Does chap- 
ter i. open the plot? How? Does chapter ii. contain any 
development of the plot ? What ? Chapter iii? Chap- 
ter iv ? Chapter v ? Chapter vi ? 

13. In what lies the beginning of the dramatic action, or plot, 
of Romola ? Why ? 



i8 

14. In the art of fiction, when the dramatic development is 
arranged in true sequence, the choice and combinat on of 
characters determines the future course of the plot. At 
the close of chapters i.-vi., what points of expectation and 
interest has the author of Romola created in the mind of 
the reader ? 

SECTION II. CHAPTERS VI.-X. 

i 
Note. — For the Bardi house, see "The Hansa /Towns," 

"The Story of the Nations," p. 182; for the Bardi family in 

history, see Hallam's "Ecc'l Society," part ii., p. 987; for the 

Via di Bardi, see the map in any good guide-book to Florence. 

15. Why did George Eliot introduce Bernardo del Nero at 
Tito's first visit in the Via di Bardi ? 

Why is mention made of the death of Lorenzo ? 

16. How had the family history prepared Bardo and Romola 
to welcome Tito ? 

17. What were the important characteristics of the man, Bal- 
dasarre Calvo, as reported by Tito ? 

18. Why is the " learned squabble " introduced? 

Does it contribute to the plot ? To the character build- 
ing ? To the background ? To which chiefly ? 
Note. — For Politian's scholarship, see Symond's "Revival 
of I^earning," p. 349. For the University of Florence, see 
Burckhardt's " Renaissance in Italy," p. 210. For the Platonic 
Academy, see P. Villari's " lyife and Times of Savonarola," vol. 
i., chap, iv., and " Ivorenzo de Medici," by Armstrong. 

19. Does George Eliot give a clear idea of the feast of San 
Giovanni ? 

Note. — An account of the manner in which Midsummer 
Eve (The Vigil of St. John the Baptist's Day) was observed in 
the various countries of Europe, especially in England, is found 
in Brand's "Popular Antiquities," pages 165-185. Neogeorgus, 



19 

in "The Popish Kingdom," also gives an account of the rites 
observed in this festivity. 

A comparison of the various observances of the feast of San 
Giovanni with the description in chapter viii., shows the extent 
of the author's knowledge on this subject. It is noteworthy, 
however, that she makes no mention of the bonfires which 
Brand says were habitually lighted on Midsummer Eve in Eng- 
land and France and, probably, in Spain. The running of the 
Corso at this time seems to have been peculiar to Florence. 

20. Why does she choose that Tito shall review the procession 
from Nello's shop ? 

21. Give the special reason for connecting each of the follow- 
ing persons with this review : Savonarola, Bernardo del 
Nero, Tessa, Piero di Cosimo, the names of Bardo and 
Romola. 

22. What information about the political situation in Florence 
is given in this chapter.? 

23. What points in the development of the plot are made in 
the account of the feast of San Giovanni? 

24. Tito's first struggle : 

a. What were the reasons, on both sides, that influenced 
him? 

b. Did his decision give a permanent direction to his 
character, from which he could not escape ? 

c. Was Tito mercenary ? 

25. If the Friar's message had come to Tito earlier, would his 
decision have been different ? 

26. Tito did not love his foster-father ; was the reason to be 
found in his own character, or in the character of Bal- 
dasarre } 



20 

SECTION III. CHAPTERS XI.-XVII. 

Chapters xii., xiii. 

27. How is chapter x., "Under the Plane Tree," connected 
with the plot ? Does it reveal any new traits in Tito ? 

28. a. What is the special reason for the minute description 
of Brigida's appearance and costume ? 

b. What is accomplished in the novel by Brigida's visit? 
Note. — Suggested, in answer to 28 a : 

a. Reveals to Tito the relationship of Dino. (By what 
steps?) 

b. Hastens Tito's proposal. 

c. Gives another view of Savonarola. 

29. What was Tito's great regret when he won the promise of 
Romola's hand from Bardo ? Is it consistent with your 
idea of his character? 

30. How do you explain Romola's inclination toward Tito ? 
By similar traits of character ? Would it have proved per- 
manent had not outside events influenced the result ? 

Note. — Suggested in answer to the first question of 30 : 

a. By her love for the beautiful. 

b. By the absence of all that could repel her. 

c. By her possession of an imaginative mind. 

d. By physical attraction, similarity in tastes, etc. 

e. By her love for her father. 

/. By her longing for companionship. 
Note. — No such point should be accepted in the discussion 
unless supported by reference to proof found in the text. The 
reader's efforts should be directed solely to tracing the author's 
analysis, not to devising reasonable or possible explanations. 
Chapters xiii., xlv. 

31. What do you understand by the " Shadow of Nemesis " ? 
What was George Eliot's reason for bringing Nemesis 



21 

near Tito's life and then removing all apparent danger 
of it? 

32. Would the events of chapter xiv. have happened had it 
not been for the ** Shadow of Nemesis " ? 

33. Can you explain the inclination Tito felt toward both 
Tessa and Romola ? Were both feelings g enuine ? Could 
both really exist at the same time f 

Chapters xv. and xvii. 

34. What appear to have been Dino's reasons for becoming 
a monk ? 

35. In the fifteenth century, how did men attempt to escape 
from sin and rise to a nobler plane of living than that of 
their fellows ? 

36. What were the reasons for Romola's dislike of monks 
and of the church ? 

37. What new influence was planted in Romola's mind by 
her visit to her dying brother ? How would this new con- 
sciousness influence such a nature as Romola's? What 
connection with the development of the plot has this 
incident ? 

38. What is the author's most important purpose in describ- 
ing this interview, next to the one suggested above ? 



22 

SECTION IV. CHAPTERS XVI.-XX. 

39. What purposes are served by the chapter called " A 
Florentine Joke ' ' ? 

a. The conversation. 

b. The joke. 

Note. — For George Eliot's comment on "The Florentine 
Joke," see "Life of George Eliot," vol. iii., p. 121, letter to 
A. Main, Aug. 3, 1871. 

40. The betrothal. 

a. What were Bardo's reasons for wishing Romola to 
marry Tito ? (Compare Bardo with Casaubon, in " Mid- 
dlemarch.") 

b. George Eliot speaks of Romola' s idea of Tito as a 
" vision woven from within." What was this idea ? In 
what respects did it differ from the real Tito ? 

c. Was Tito's idea of Romola more correct than her idea 
of him ? How did it differ from her true character ? 

d. Explain the motives which influenced Tito in pre- 
senting Romola with the Ariadne. Has the painting 
of the Ariadne any other connection with the plot than 
its part in the betrothal? Why did Cosimo object to 
Tito's money ? 

e. Why is this betrothal placed at the carnival time by 
the author ? 

/. How many important elements in the complex lives 
of Tito and Romola does the author associate with their 
betrothal ? 
g. Can you explain why George Eliot introduces the 
mummery at the end of chapter xx ? 
Note. — The placing of this betrothal at the carnival time is 
an illustration of the care with which the plot of Romola is con- 
structed. There seem to have been seven or eight considera- 
tions in the author's mind which determined the time of the 
betrothal and the incidents connected with it. 



23 

SECTION V. GENERAI, TOPICS. 

41. How many phases of Florentine life and thought have 
been presented in book i ? 

These points are suggested in answer to 41 : 

a. The religious life of Floretfce. 

b. The culture of Florence. 

c. Political parties in Florence. 

d. The relation of Florence to other independent states. 

e. The relation of Florence to Rome. 

42. What characteristics of the fifteenth century are presented 
in book i ? 

Note. — Select especially such characteristics as would place 
the events definitely were no historical names or dates given. 

Villari mentions certain characteristics which seem to him 
important, in " I/ife and Times of Savonarola," book i., p. 45. 
George Eliot seems to have had other characteristics also in 
mind. Consult Symond's "Age of the Despots," chapter iii. 

43. What was the mental attitude of the different classes of 
society towards Christianity at this date ? 

State clearly, in each case, what the mental attitude 
was. 

44. By what means has George Bliot created an impression 
of Savonarola's personality and influence, and carefully 
prepared for his entrance on the scene? 

a. Is this method more or less effective than it would 
have been to introduce him, at once, as a leading char- 
acter ? 

b. Prepare an outline of the life of Savonarola, by years, 
up to 1492, showing especially those events and in- 
fluences most effective in determining his habit of 
mind, his course of conduct, his relations with others. 

Note. — In book i., Savonarola is consistently kept in the 
background, although everything points toward the entrance of 



24 

some great figure. At first we hear current gossip about the 
Frate's visions through the medium of the common people, and 
witness the profound impression created by the reports of his 
interview with the dying Lorenzo and the fulfillment of certain 
of his prophecies. Then, in the person of the pleasure-loving 
Brigida, the author illustrates his influence upon general soci- 
ety in Florence and, at the same time, gives a popular version 
of the three great doctrines that he preached. In Dino's cham- 
ber, Savonarola, the devotee, enters, and we have a brief but 
powerful impression of his personality ; we feel his great power 
of drawing men to him and of influencing them through the 
implanting of noble ideals of spiritual life. Again, in Nello's 
shop, we listen to the opinion of shrewd politicians and we hear 
the astute Machiavelli explain the sources of the Frate's influ- 
ence. At each step we see more clearly the real character of 
the man, and come closer to the secret of his power. 

George Eliot's purpose in the presentation of Savonarola was 
double. She wished to reveal to the reader the man's rare and 
complex individuality, and also to present the extent and char- 
acter of his influence as a leader of the people, and his relation 
to the diflScult politics of the times. Only by tracing every step 
of the process, is the critic able to detect the fine skill with 
which the author has placed this man in the reader's mind as 
the dominant figure in the background of Florentine life. 

45. The following topics in book i. illustrate George Eliot's 

habit of building up an effect by slow degrees. Trace each 

one in outline. 

a. Romola's imaginary Tito. 

b. The introduction of antecedent material and the use 
of the ring. 

c. The growth oifear as an influence in Tito's life. 

d. The web of deceit, — when did it begin? By what 
steps did it grow ? 



25 

e. The creation of an impression of Savonarola's person- 
ality and influence. 

46. What is the author's key to Tito's character ? 

How does this account for his decision about the jewels ? 

Can you explain the necessity that Tito felt for Romola 
at the time when he supposed that Dino had revealed his 
secret to her ? 

47. Do you consider Tito's course irrevocably taken at the 
close of book i ? 

If you answer no, point out any possibility or probability 
of change that you see, either in the man's nature, or in 
the circumstances that surrounded him. 

If you answer yes, point out the time at which you think 
the course of his life took so definite a direction that 
change of tendency was no longer probable. 

What would have been the course of Tito's life had 
Baldasarre really died before Tito came to Florence ? 

48. What is the theme of the novel Romola, so far as it is 
apparent in book i ? 

49. Make a suitable title for book i. 

50. What are the reasons for finding the main plot in Tito's 
life at the close of book i ? 

What are the reasons for not finding the main plot in 
Tito's life at the close of book i ? 

51. What is the dramatic situation at the close of book i. ; 
that is, what are the unfinished sequelcs, or threads of 
interest ? 

Note. — A careful statement of the dramatic situation at a 
given moment, whether in a work of fiction or in a drama, must 
include all unexpended forces tending to, or adverse to, some 
center of action, and must indicate the different developments 
possible ; that is, the center of interest and suspense. 

52. Report on note-book topics, quotations, etc. 



26 

BOOK II. 

ADDITIONAIy REFERENCES FOR BOOKS II. AND III. 

Villari's " Ivife of Savonarola," books ii., iii., and iv. 

Trollope's " History of Florence," vol. iv. 

Symond's " Age of the Despots," chapters vii., ix., x. 

**The Venetian Republic," by Horatio F. Brown, pp. 326-392. 

"The Renaissance in Italy," by Burkhardt. 

" The Romanes Lecture, 1897, Machiavelli," by John Morlcy. 

For Charles viii. in Italy, "History of France," by Guizot, 
vol. ii., p. 397. 

Hallam's " Middle Ages," '* Italy," chapter iii., part ii., pp. 
373-87> 396. 

" Age of the Despots," pp. 542, 567-74. 

POINTS OF IMPORTANCE IN THE STUDY OF BOOK II. 

In the historical and political setting of the novel: 

a. The political situation in Florence, and the cause of 
the coming of Charles viii. 

b. The reason for the Pope's hostility to the city of Flor- 
ence. 

c. The political parties in Florence. 

d. The relation of Savonarola to these parties. 

e. The secret of Savonarola's power. 

In the plot: 

a. The selection of historical incidents in such a manner 
that they fairly represent important historical events 
and reveal in true proportion the influences that brought 
them about, and, also, are essential steps in the devel- 
opment of the plot. 

b. The crisis in Tito's life. 

c. The crisis in Romola's life. 



27 

d. The connection between Tito's life and the political 
plot. 

e. In the life of Savonarola, the effect of an intimate con- 
nection with Florentine politics and of the struggle be- 
tween his desire to reform the church and his love of 
power. 

In the artistic construction of the novel : 

a. The bringing forward of the main plot so that gradu- 
ally the underplot of which Tito's life is the center is 
subordinated to the real artistic purpose of the novel. 

The apparent relation of the two plots in book i. is 
reversed in book ii. 

b. The skill with which Savonarola's life is shown to 
be the dominant influence in the development of the 
plot, although he is constantly kept in the background 
and is presented to the reader in the manner in which 
his life was related to his own times and to those that 
have followed. 

c. The skill with which complexity of character is repre- 
sented in the case of many different persons, so that the 
reader appreciates the presence, in each, of conflicting 
motives and is often unable to pass an absolute judg- 
ment. 

d. The parallel between the spiritual experiences of 
Romola and of Savonarola. 

e. The fine self-restraint shown by the author in her use 
of rich historical materials, so that the plot nowhere 
weakens in its hold upon the reader's mind through 
his interest in the history. 

/. The care with which the true historical perspective 
and connection of events is preserved ; nothing is col- 
ored or wrested from its true meaning for the sake 
of effectiveness in the novel. 



28 

SECTION VI. CHAPTERS XXI.-XXIII. 

53. What reason had Charles viii. for coming into Italy ? 

54. What was his claim to the throne of Naples ? 

55. Why did the Duke of Milan invite him ? 

56. What relation did Florence hold to Milan in this matter? 
To Naples ? 

57. Was there any great danger to Florence in welcoming 
Charles ? 

58. How did Savonarola regard the coming of Charles ? 

59. What was Savonarola's conception of his own mission in 
the church ? In the world ? 

60. How does the author account for his hold upon the popu- 
lar mind ? 

61. What prophecies had Savonarola made before the death 
of Lorenzo ? 

62. Did the author consider Savonarola's utterances truly 
prophetic, or how did she account for them ? 

63. Would Savonarola have welcomed the coming of Charles 
had he been only a politician ? That is, was his attitude 
determined by his religious zeal, or did he believe that there 
were sound political reasons for promoting an alliance be- 
tween Florence and Charles ? 

64. What were the first results to Florence of Charles' pres- 
ence in Italy ? 

65. How did Charles regard Florence ? 

66. What was his attitude toward the Medici ? 

67. What great change in Florentine politics had taken place 
since the Quaresima of 1492 ? 

68. What government was substituted for the rule of the 
Medici ? 

69. What was the relation of Florence to Rome at this time ? 
Why was Italy unable to unite to prevent an invasion like 
that of Charles viii ? 



29 

For the army of Charles viii., especially the Scotch bow- 
men, see Traill's " Social England," vol. ii., pp. 172-3. 
Hallam's "Middle Ages," " Italy," 210, 367. 
"Age of the Despots," 156. 

70. How had Tito's position in the' city changed in two years ? 

a. What steps in the plot are gained by the incident of 
the prisoners ? 

b. If you suppose that Tito acted by sudden impulse, or 
instinct, in saying, "some madman, surely, " is the act 
to be explained by innate characteristics, or by previous 
trains of thought and conduct ? 

c. If Baldasarre had not come upon Tito suddenly, if 
he had had time to act deliberately, what would he have 
done ? 

71. Chapter xxiii. dwells upon a critical moment in Tito's 

life. 
a. In what does its importance lie ? 

d. Has the crisis in Tito's life any significance in the 
course of Romola's life ; that is, in the main plot, or is it 
of importance chiefly in relation to her happiness ? 



SECTION VII. CHAPTERS XXIV.-XXVIII. 

72. What were the author's reasons for carrying Baldasarre 
into the Duomo ? How did the sermon affect his mind? 

73. Is this sermon essential to the plot? 

74. Does it give any new conception of Savonarola? 

75. Was the Frate's audience fairly representative of the city, 
or only of certain classes and parties ? 

76. How did this audience compare with his following, two 
years before ? 

77. What effect did Savonarola desire to produce by his 
preaching ? 

78. What elements of plot development are found in chapter 

XXV? 

79. How had Tito changed in character, in two years ? 

80. Do you find any new influences at work in his mind ? 

81. What was the attitude of the Florentines toward Charles 
on the day of his entrance ? 

82. In what respects does George Eliot contrast the French 
and the Florentines ? 

83. What part of the incident of Tito's speech is historical ? 

84. Was there anything in Tito's character, as presented 
in book i., which prepared you for the incident of the 
armor ? 

85. What changes in Romola's life had taken place in eighteen 
months ? 

86. What changes had taken place in her thought and char- 
acter ? 

87. Had Romola's idea of Tito changed ? How did she 
explain the change? 

88. How did she explain the change in the relation between 
herself and Tito ? 

89. Why had Romola formed the habit of going to the 
Duomo ? 



31 

90. How did Savonarola's preaching influence her? 

91. What impression was made on Romola's mind by the 
incident of the armor ? 

92. Does her feeling form an element in the plot? 

93. Had Romola lost faith in her father's purposes in life? 

94. There are two or three fine bits of character analysis in 
chapter xxviii. ; what are they ? 

95. There is also in chapter xxviii. an incident of importance 
in the development of the plot ; what is it? In what does 
its importance consist ? 



32 

SECTION VIII. CHAPTERS XXIX.-XXXIV. 

96. What did " the most Christian king " demand ? 

97. What was the historical treaty between Charles and Flor- 
ence? 

98. What is the historical basis of the incident of Tito's 
speech, and of Capponi's part in making the treaty? 

99. Has George Eliot added or changed anything ? 

100. What is the importance of this incident in the dramatic 

plot of the novel ? 
loi. Does it count as a step in the political plot which forms 

a background for the dramatic plot ? 

102. Was it essential to Tito's plan that he should sell the 
library ? 

103. Was there any real reason for not doing so except 
Romola's filial piety? 

104. Was a promise made to a dead father binding upon Tito 
and Romola under changed conditions ? 

105. Why has the author chosen this time for the arrival of 
the painting of Bardo di Bardi? 

106. Why did she introduce Bernardo del Nero in Romola's 
home just at this time ? 

107. How did Tito attempt to explain his sale of the library? 

108. What means of insuring Romola's compliance did Tito 
take? 

109. Did he wish to retain Romola's confidence and affection 
at this time ? 

no. Was there any course possible, in regard to the sale of 
the library, by which Romola could have maintained the 
old relation between herself and Tito ? 

111. What change in Romola dates from this time ? In Tito ? 

112. In chapters xxxi. and xxxii., two plots are brought into 
connection ; which is the main plot ? How do you sup- 
port your opinion ? 



33 

Note. — The answer to this question is of importance, as it 
should furnish an indication of the real theme, or artistic pur- 
pose, of the novel. Point out each plot element in this chapter 
and show the relation of the one plot to the other. 

113. Sketch, in outline, Baldasarre's life. Do you consider 
his mental and moral condition the result of defects in his 
character, or of misfortune ? 

114. Why were all his relationships with fellow men a failure? 

115. What thwarting influences were at work in Baldasarre's 
life? 

116. What was the author's purpose in introducing the char- 
acter of Baldasarre ? 

117. Why does she make him incapable of accomplishing his 
revenge ? 

118. Why did the confidence of Romola affect Tito so differ- 
ently from the trust of Tessa ? 

119. Why does the author introduce the picture of Tessa 
saying her prayers beside her baby at this point in the 
narrative ? 

120. What is the reason in the plot for connecting Baldasarre 
with Tessa's life? 

121. What motives impelled Tito to seek a reconciliation with 
Baldasarre? 

122. What would have been the result in Tito's life, had he 
effected the reconciliation with Baldasarre ? How would it 
have affected his relations with Romola ? 



34 
SECTION IX. CHAPTERS XXXV.-XLI. 

123. a. What position in Florentine politics did Tito try to 
hold? 

b. What were his plans? What were his real ambi- 
tions ? 

124. What were the real tasks before the city of Florence at 
the time of Charles' departure ? 

125. What was the first step taken ? 

126. What two forms of government were proposed ? 

127. On the side of which was the influence of Savonarola? 

128. What was his ultimate object in this course? 

129. Could he have kept himself free from politics at this 
time ? 

In the discussion of this question consider : 

a. The reforms begun in Florence through the influence 
of Savonarola. 

b. The influence of Savonarola in, 

1. The expulsion of Piero di Medici. 

2. The embassy to Charles viii. 

3. The sending away of Charles viii. 

4. The formation of a new government. Consult Vil- 
lari's Life and Times of Savonarola. 

Chapters xxxviii., xxxix. 

130. Why was Tito going to Rome ? 

131. What was the position of Bernardo Rucellai? 

a. To what party did he belong ? 

b. Is he a historical personage ? 

132. Why did the Mediceans affiliate with the Frate's party? 
i33« Why were they anxious to retain Tito ? 

134. What inducements did they hold out to him ? 

135. What was it expected that Tito would do ? 

136. What were the most important things that Baldasarre 
gained in exchange for his broken dagger ? 



35 

137' What various purposes in the development of the plot 
are served by Baldasarre's appearance in the Rucellai 
gardens? 

138. What else in the supper in ^he Rucellai gardens is essen- 
tial to the plot of the novel ? 

139. Did the evening in the Rucellai gardens cause any 
changes in Tito's character, or plans? 

140. Did the attempt of Baldasarre injure Tito in any way ? 

141. One key to the author's conception of Tito's character is 
found in chapter xxxix. ; what is it ? 

Chapters xxxvi., xxxvii., xl., xli. 

142. Why did Romola go away ? 

a. Was her act justifiable from a modern point of view? 

b. How did she herself justify it ? 

143. What was the usual refuge of unhappy wives in Florence ? 

144. Did Romola regret that she had married Tito ? 

145. What plan had she made for her future life ? 

146. Why did she carry Dino's cross with her ? 

147. Why did not her trouble influence her to accept Dino's 
faith ? 

148. Did George Eliot indicate here the manner in which 
spiritual help would finally come to Romola? 

149. What was the secret of Savonarola's influence over 
Romola's mind ? 

150. What reason did Savonarola urge when commanding her 
to return ? 

151. What motive finally influenced Romola in yielding? 

152. Did this yielding mark the change of any ruling princi- 
ple in her life for a new one ? Explain. 

153. What was Romola's mental attitude toward Christianity 
when she returned to Florence ? 

154. What new impression of Savonarola do you get from this 
interview ? 



36 
SECTION X. GENERAL TOPICS ON BOOK II. 

155- Romola and Tito : 

Trace the influence of Romola upon Tito's character; was 
it for good ? 
156. The Political Plot at the close of book ii : 

a. The parties. 

b. The plots for the restoration of the Medici. • 

c. Tito's connection with these plots. 

157- Savonarola's relation to the political situation : 

a. What different classes of Florentines belonged to the 
Frate's party ? 

b. What elements of society were opposed to him ? 

c. Wherein lay the real strength of his position ? 

d. Wherein lay its weakness ? 

e. For what ends was the Frate working ? 

f. Do you perceive any sources from which reaction may 
arise ? 
158. The Plot : 

a. At the close of the second book, what seems to you 
to be the theme of the novel ? 

b. Trace the main plot in outline through the second 
book, showing how it has advanced, and every point at 
which subordinate plots have contributed to its develop- 
ment. 

c. What is the most important plot element connected 
with the life of Tito in book ii? With the life of Romola? 
With the life of Savonarola? 

d. What are the incomplete threads of plot at the close 
of book ii ? 

159. a. What is the purpose of book i. in the plan of Romola? 
b. What is the purpose of book ii. in the plan of Romola? 

160. Chronology of book Ii. 

161. Significant quotations from book ii. 



37 
BOOK III. 

SECTION XI. CHAPTERS XIvII.-XIvV. 

162. How long a time passed between the events narrated in 
book ii., and those of book iii? 

163. For what purpose was the "I^eague" organized? 

164. What States belonged to it? 

165. What special reasons for enmity to Florence had each of 
the following : the Pope ? the Emperor ? the small states ? 
Venice? Genoa? 

166. What were the domestic difficulties of Florence at this 
time? 

167. What relief from these difficulties did the Frate's party- 
hope for ? 

168. What course did the disaffected advocate ? 

169. What is the thread which connects the incident of the 
starving prisoner in the street with the plot in the previous 
books? 

170. What do we learn of Romola in this scene? 

Chapters xliii., xliv. 

171. How had Romola passed the two years previous to the 
incident of the prisoner? 

172. What changes in her character and habits of thought had 
taken place since her return ? 

173. Did she hold the common beliefs of the Church ? 

What were the chief difficulties in Romola' s life at this 
time? 

174. What was the real explanation of Savonarola's influence 
over her mind ? 

175. What were the relations between Romola and Tito at this 
time? 

176. What were the author's reasons for making Romola view 
the procession ? 



38 

Note. — Not less than six reasons, each of distinct importance 
in relation to the plot, may be noted here. 

177. Is this incident historical ? Did George Eliot add any- 
thing or make any change for the purpose of adapting it 
to her narrative ? Is the impression given historically 
accurate ? 

178. What changes had two years in prison made in Baldasarre ? 

179. Is there any essential element of the main plot in chapter 
xliv? 

180. Why did Machiavelli believe that Savonarola would fail? 

181. Do you think his interpretation of Savonarola's character 
correct ? 

182. Had George Eliot any special reason for attributing these 
opinions to Machiavelli ? 

183. What was Tito's mission to Pisa? 

184. What was his secret mission ? 

185. To what party did Tito give the impression of belonging, 
when in the barber-shop ? 



39 
SECTION XII. CHAPTERS XI,VI.-Iv. 

i86. Was the difficulty which kept Romola and Tito apart on 

his side, or on hers? 
187. What was the plot for capturirjg Savonarola ? 
iSS. Why did the plotters wish to carry him into Roman tetyi- 

tory ? 

189. Was Tito a well-chosen agent for the conspirators ? 

190. Did Tito lie to Romola when he declared that the Frate 
should not go out of the city, or had he formed a resolution 
to that effect before she asked her question ? 

191. Did Romola do a wise thing in compelling Tito to speak 
in Nello's shop ? 

192. What were the indirect results of the frustration of this 
plot against Savonarola ? 

Note here three points important in the further development of the 
plot. 

193. Did Tito believe his own statement of the difficulty be- 
tween himself and Romola? 

194. Was it necessary for the success of Tito's plans that he 
should take means of controlling Romola ? 

195. What change in the relationship of Tito and Romola 
resulted from this incident ? 

196. Was Romola responsible for the prevention of evil that 
Tito might do ? 

Note. — In the first crisis of Romola's life, the question had 
been whether she could live with a man whose character and 
principles were wholly at variance with her own. She submit- 
ted, since it was herself only who suffered, and sought her real 
life outside of the home relation. In the second crisis of her 
life, she saw the evil that Tito did threatening the public wel- 
fare and the lives of those dear to her. Had she any responsi- 
bility as a citizen and a loyal friend ? Was her duty as a wife 
paramount when there were conflicting claims? 



40 

197- What was the old custom for which the Pyramid of Vani- 
ties was substituted? Villari, 44, 45, 132-139, vol, ii., book 
iii. 

198. What was Savonarola's purpose in making this change? 

199. Was the sentiment of Florentines, generally, in support 
of the new plan ? 

200. How many different attitudes of mind toward the Pyra- 
mid of Vanities does the author represent ? 

201. What purposes in the plot are served by the Pyramid of 
Vanities ? 

202. Why does the author make Baldasarre a witness of Tessa's 
holiday ? 

203. In which plot is the meeting of Romola and Tessa impor- 
tant? Why? 



41 
SECTION XIII. CHAPTERS L.-LXII. 

204. What is the importance of the incident about Brigida ? 

205. How had the preaching of Savonarola changed, according 
to George Eliot, since 1492 ? 

a. How is this change to be explained ? 

206. What was the effect of her visit to Camilla upon Romola's 
inner life ? 

207. What is the importance of this visit in the plot ? 

208. What was Romola's great difficulty at this time? 
Chapters liii., liv. 

209. What was the purpose of the author in bringing Romola 
and Baldasarre together? 

210. What were the deepest feelings stirred in Romola by Bal- 
dasarre 's revelations? 

211. Was the evidence sufficient to warrant Romola in believ- 
ing Baldasarre rather than Tito ? What evidence on either 
side had she ? 

212. Why did Romola visit her godfather immediately after 
her interview with Baldasarre? 

213. What was the historical reason for the retreat of Piero di 
Medici? 

214. Has his approach to the city gates any connection with 
the plot of this novel ? 

215. How did the excommunication of Savonarola affect 
Romola ? 

216. What was the problem of Romola's inner life at this 
time? 

217. Did the finding of Tessa change Romola's feeling toward 
Tito? 

218. Why did she think, at this time, that it would be right 
for her to leave him ? 

219. What was the bargain which secured Tito's safety when 
the Medicean conspirators were discovered? 



42 

220. Why did he dislike this bargain ? Had it any important 
bearing on his after life ? 

221. Why did Tito wish Romola to visit the Frate in the inter- 
est of Bernardo del Nero ? 

222. What motives restrained Savonarola from using his influ- 
ence in favor of the appeal ? 

223. Do you think that he made a mistake ? 

224. Did Romola present any valid^reasons ? 

225. What was the relation of this interview to Romola's inner 
life? 

226. What was the purpose of the author in'bringing these two 
leading characters face to face at this time ? 

227. The trial of the conspirators. 

228. Why was it impossible to save Bernardo del Nero ? 

229. Why is Machiavelli's conversation at the time of the exe- 
cution introduced? 

230. Which is more faithful to ordinary human experience, the 
emotions experienced by Tito at the time of the execu- 
tion, or those that moved Romola? 

231. Where do you place the beginning of Romola's alienation 
from Savonarola ? Trace the process. 

232. Of what did Romola accuse Savonarola in the re-action that 
followed the execution ? 

233. What was the effect upon Romola of her loss of faith in 
Savonarola ? 

234. Why did Romola leave Florence the second time ? What 
did she seek ? 

235. Had George Eliot any purpose, except the faithful deline- 
ation of Romola's inner life, in describing her alienation 
from Savonarola ? 



43 
SECTION XIV. CHAPTERS LXII.-LXV. 
Chapters Ixii., Ixiv. (See also previous chapters.) 

236. Review in outline Savonarola's contest with the Pope. 
What was the real issue between the Pope and Savo- 
narola ? 

237. By what means had the Pope sought to get Savonarola 
into his power ? 

238. What means had Savonarola employed to frustrate the 
Pope? 

239. With which party was the sympathy of the Christian 
world ? 

240. Why was Savonarola excommunicated ? 

241. What was the result of this excommunication upon the 
city of Florence ? 

242. What was the attitude of the different parties toward it? 

243. What moral question did the excommunication present to 
Savonarola ? 

How did he decide it ? 

244. Were his motives in this decision personal, or did he 
believe that he sought the highest good of the 
church ? 

245. Why was the threat of an interdict more alarming to 
Florence than the excommunication ? 

246. What are the practical results of an interdict ? Illustrate 
by the history of one of our famous interdicts. 

247. Why did Savonarola make the appeal to heaven ? 
What was the result of that appeal ? 

248. How does the historical incident compare with the narra- 
tive in Romola ? Villari, vol. ii., 255. 

Has the appeal to heaven any importance in the plot? 

Chapters Ixiii., Ixiv., Ixv. 

249. What was the political scheme concealed in the " Trial by 
Fire"? 



44 

250. How did Dolfo Spini's understanding of this scheme 
differ from Tito's idea of it? 

251. What was Savonarola's inward conflict in regard to the 
"Trial by Fire"? 

252. What was the effect of the " Trial by Fire " in Florence? 

253. What motives influenced Savonarola to intrust his letters 
to Tito ? 

254. What was his great plan ? 

255. What motives influenced Savonarola in his decision to call 
a council? 

256. Were there reasons for expecting a favorable result from 
this step ? 

NoTB. — The calling of a council was not an act of insubordi- 
nation at this time. Charles viii. had long considered sum- 
moning such a body. When in Rome, he had been urged to do 
so by no fewer than eighteen cardinals, especially by Giuliano 
della Rovere, who had been defeated by the gold of Alexander 
VI. in the last election. Moreover, the Doctors of the Sorbonne 
had voted in January, 1497, that the king had a right to take the 
step. The summoning of a council to consider the fitness of 
the Pope for his oflSce was not without precedent. The council 
of Pisa, summoned by the cardinals in 1409, had deposed both 
the rival Popes, and the general Council of Constance, in 1414, 
had proclaimed its superiority over the Popes and deposed John 

XXIII. 

On this subject, see Villari's '* Life of Savonarola," vol. ii., 
p. 291 ; Hallam's " Middle Ages," part ii., chap. viii. ; Symond's 
" Age of the Despots," chap, ix., p. 532 ; Burckhardt's " Civili- 
zation of the Renaissance in Italy," pp. 106 and no. 

257. Would Savonarola's plan of summoning a council have 
succeeded if the letters had not been betrayed? 

LsFC. 



45 
SECTION XV. CHAPTERS IvXVI.-LXXII. 
Chapters Ixvi., Ixxii. 

258. What was Tito's private scheme in the betrayal of Savo- 
narola ? 

259. Why did Ser Ceccone hate Tito ? 

260. What was the occasion of the mob that attacked San 
Marco ? 

261. Was the pursuit of Tito by the mob an accidental inci- 
dent? 

262. Trace Tito's political career in Florence with a view to 
showing whether it alone would have brought him to 
ruin ; can you explain his course apart from the secret 
fears that influenced him? 

263. At what point do you place the climax of Tito's career ? 

264. At what point do you place the close of Tito's career ? 

265. Where do you place the last important connection be- 
tween the underplot and the main plot; that is, the last 
determining influence of events connected with Tito's life 
upon the course of the main plot ? 

266. Do you think it true to art to make Baldasarre the one to 
deprive Tito of his last chance of life ? 

267. What influences did Tito bring to bear on Savonarola in 
order to induce him to send the letters at once ? 

268. What part did the signory of Florence take in the capture 
and trial of Savonarola? 

269. What was the fate of Valori ? 

270. What were the causes of Savonarola's downfall ? 

271. How do you explain the decay of his influence in Florence ? 

272. Do you consider his failure in any degree due to his own 
mistakes ? 

273. How do you explain Savonarola's course under torture, 
and his silence at the end ? 



46 

For Savonarola's trial, see " Villari's Life," vol. ii., book 
iv., chapters ix., x., xi. 

274. On what charge was Savonarola condemned ? What are 
the reasons for doubting the genuineness of the confession 
published as Savonarola's ? 

275. According to his own statement, do you consider Savona- 
rola unrighteously ambitious ? 

276. Did Savonarola believe in his own visions? 

277. Did Savonarola consider his own life a failure ? 

278. What is the final judgment of the author concerning 
Savonarola ? 

279. What were the great conflicts of Savonarola's inner life, 
according to George Eliot ? 

280. For what purposes and ideals has the life of Savonarola 
stood in history? 

281. What was Romola's mental condition at the time when 
she drifted away ? 

282. How did help first come to her ? 

283. What is the relation of her stay in the plague-stricken 
village to the plot ? 

284. What motives impelled Romola to search for Tessa ? 

285. How did Romola judge Savonarola at the time of his 
trial? 

286. Why was she so anxious for a last word from him ? Why 
did he not speak it ? 

287. Why has the author presented Savonarola at the time of 
his trial through the medium of Romola's mind ? 

288. What was Romola's final judgment of Savonarola's life? 

289. What was Romola's solution of her mental difl5culties and 
her final theory of life ? 



47 
SECTION XVI. GBNBRAIv TOPICS. 
I- Tito's character: 

a. Was Tito's character determined by innate character- 
istics or by the force of circumstances ? 

b. Would Tito have been a better man if he had had a 
different wife ? 

c. Discuss and criticise the author's analysis of Tito's 
character with reference to his story. What does she 
make the key to his character? Does this sufficiently 
account for his course ? 

d. Is the character of Tito essential to the main plot ? 
How? 

II. Romola's inner life: 

a. What were its conflicts? 

b. How was it influenced by Savonarola ? 

c. To what extent was it determined by her connection 
with Tito ? 

d. What were the crises of Romola's life? 

e. What was Romola's final theory of life ? 

III. George Eliot's conception of Savonarola's character : 

a. His religious fervor. 

b. His zeal as a reformer. 

c. His political ambition. 

d. His ecclesiastical schemes. 

e. The author's explanation of Savonarola's character. 

/. Was his character consistent ? If not, in what respects 

was it inconsistent ? 
g. Do you consider it due to himself or to circumstances 

that he failed of being a great reformer ? 
h. What do you consider the most important differences 

between the purposes and plans of Savonarola and those 

of Ivuther ? 



48 

i. Which man do you consider the more able ? Why ? 
j. Which man do you consider the stronger? Why? 

IV. Plot: 

a. What is the theme of the main plot ? 

b. What is the theme of the underplot? 

c. What is the supreme moment of the main plot ? 

d. What is the climax of the underplot ? 

e. At what points is the underplot essential to the main 
plot? 

f. Is the life of Savonarola essential to the novel as a 
veork of fiction ? 

g. In what respects is the inner life of Romola similar to 
that of Savonarola? 

V. The historical character of the novel : 

a. Has the novel left in your mind any distinct impres- 
sion of Florence as a mediaeval city ? 

What characteristics had it ? 

b. Has the author given you any distinct impression of 
Florentines as a race of men differing from the Eng- 
lish-speaking races ? 

What important differences come easily to mind ? 

c. Has the author conveyed an impression of the char- 
acteristics of the fifteenth century, as differing from 
other centuries? What were its characteristics? 

d. Has the author loaded the narrative wdth unnecessary- 
historical material ? 

Note. — If the answer is yes, definite passages must be 
pointed out in proof. Any historical material not essential to 
the development of the plot, or to an understanding of the 
narrative, may be regarded as unnecessary. 

e. Is the historical material essential to the novel, or 
could its main purpose have been accomplished by 
scenes laid in the nineteenth century? 



49 
VI. Characteristics of the author: 

Under this topic should be given those characteristics of 
George Eliot as a novelist which have become familiar through 
the study of Romola. Each should be accompanied by refer- 
ences to illustrations in the novel. This is also the place for the 
expression of critical opinions in regard to the qualities of the 
work of fiction. For instance, the reader notes the author's 
habit of presenting extended analyses of acts, motives, char- 
acters, etc. Many other writers suppress the analysis, trusting 
to the reader's power of interpretation. Did George Eliot err in 
confiding too freely her own mental processes to the reader .? 



50 
SECTION XVII. CRITICISM. 
The most thoughtful criticism of the novel Romola to be 
found was written upon its publication in book form. Since 
this criticism, contemporary with the appearance of the novel, 
is not easily accessible : a brief abstract of it is presented here. 
The Saturday Review, vol. i6, p. 124, July 25, 1863. 

a. The author of " Romola " is much better in depicting 
English scenes and life; it is a pity that she should 
waste her time in overcoming the diflSculties of the 
historical novel. 

b. She loads the book with too much antiquarian detail 
in her attempt to gain historical perspective. 

c. The historical characters introduced are unimpor- 
tant and uninteresting, except Savonarola ; Machiavelli 
was too young at the date of the story to be much 
used. 

d. The plot at the close is obscure ; it includes too much 
complex, political life, and thus obscures the treatment 
of the characters. 

e. Savanarola, as an element in the novel, is criticised ; 
his character is not real and central. The close of the 
book is poorly managed and ineffective. 

f. The character of Romola is the best in the book, a 
great one in literature. 

g. The author of this article suggested that possibly 
George Eliot had exhausted her English field, and for 
that reason attempted historical fiction. 

The Spectator, vol. 36, p. 2265, juiy 18, 1863. 

a. " What George Eliot's characters do is always subor- 
dinate to what they are. 

b. " The purpose of the novel is to trace out the conflict 
between liberal culture and the more passionate forms 
of human faith." . . . 



51 

c. "There is not a more wonderful piece of painting in 
English romance than the figure of Tito." 

The reasons given for this opinion are : 
(i) Tito is a fine representation of a Greek of that age. 

(2) There is a most subtle delineation of fear in his 
character. 

(3) He is made to attract other characters superficially, 
so as to connect his life with theirs, although he is so 
different. 

d. " Romola has a grain of hardness in her make-up 
which detracts from her power." . . . •' Our own feel- 
ing is that Romola is the least perfect figure in the 
book, although a fine one ; that she is a shade more 
modernized than the others ; several shades less an 
individual." ..." We do not say that the character 
is not natural; we say it is only half revealed, and 
more suggested than fully painted." 

The Athenaeum, July n, 1863, p. 46. 

a. " As a serial * Romola' was not attractive, the minute- 
ness of its historical detail wearied " in the serial pub- 
lication. " Neither the politics nor the people of the 
book are alive; they are dried and preserved." There 
is a theatrical element in the studied accuracy of de- 
tails of dress, scenery, etc. 

d. " The character of Savonarola is the gem of the book ; 
it has been grasped and delineated with a wonderful 
force and truth that commends itself instinctively as 
a real presentment of the man. It is a historical 
study given with subtle insight and delicate shadow- 
ing." 

c. Tito's character is not successful ; the character is 
vague as an image ; there is a weariness in his sayings 
and doings. 



52 

d. Baldasarre's character is clever, but its weariness is 
painful ; it is long drawn out, and the sympathy of the 
reader is fatigued. The final scene is ineffective. 

e. " As a novel, ' Romola ' cannot be called entertain- 
ing." ... "It has not the powerful interest that is 
to be found in the author's other novels, but there are 
indications of much higher powers of mind." 

/. The close is well managed and successful. 

Notice that the authors of these reviews agree in regard to these 
particulars: 

a. As to the wonderful scholarship, accuracy and insight 
of the author. 

b. As to her faithful representation of the historical 
Savonarola ; her understanding and interpretation of 
his character is the most perfect ever given to the 
world. 

c. That " Romola," however much criticised in detail, is 
great as a work of fiction. 

d. That ' ' Romola " is greater as the embodiment of noble 
conceptions and great thoughts than as a work of 
fiction. 

They differ in regard to — 

a. The character of Romola. 

b. The character of Tito. 

c. The historical detail introduced, whether too much, 
whether well used. 

d. Savonarola as a character, an element in the novel. 

e. The conclusion of the novel. 

Other references are : 

The Saturday Review, July 25, 1863. 
The Spectator, July 18, 1863. 
The Athenaeum, July 11, 1863. 



53 

Partial Portraits, by Henry James, p. 37— "The Life of 

George Eliot." 
Literary Studies, by Joseph Jacobs, p. 3. — " George Eliot." 
George Eliot, by G. W. Cook. 

Essays of George Eliot, Introduction by Nathan Shephard. 
George Eliot and Her Heroines, by A. G. Woolson. 
The English Novel and the Principle of its Development, 

by Sidney Lanier. 
Critical Miscellanies, pp. 93-132, vol. iii, by John Morley. 
Jewish Portraits, by Lady Magnus. (Criticism of Daniel 

Deronda.) 
Studies in Literature, pp. 290-310, by E. Dowden. 
Modern Guides of English Thought in Matters of Faith, 

pp. 145-299, by R. H. Hutton. 
Essays on English Literature, pp. 1-12, 251-309, and 

465-494, by E. Scherer. 
The Historical Novel, by P. L. Ford, Atlantic Monthly, 

vol. Ixxx., p. 721. 
The Historical Novel, by B. Matthews, Forum, vol. xxiv., 

p. 79. 
Place of George Eliot in Literature, by F. Harrison, 

Forum, vol. xx., p. 66. 
George Eliot, by W. C. Brownell, Scribner's Magazine, 

December, 1900, and volume entitled "Victorean Prose 

Masters." 
Bibliography for the period since George Eliot's death 

will be found in the Literary World, Feb. 24, 1883 ; 

in the Library Journal, vol. vi., p. 15. 

THE END. 



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